Paula Cooper Gallery
When considering Tauba Auerbach’s work of the past few years, I am often sent down a rabbit’s hole of unfamiliar mathematical and scientific terms: entheogen, the Sierpiński curve, metamaterial, oscillator fret. I order books like The New Ambidextrous Universe and The Shape of Space and print out early-twentieth-century treatises like Projective Ornament. It is with great pleasure that I dive into her world, but also with a bit of trepidation: not only becausejust between usI don’t really understand the fourth dimension, a theme that has fascinated Auerbach for several years now, but, more critically, because I worry that I may not be able to align her output with the subjects she so thoroughly researches to produce it.
Such fear was unfounded, however, in regard to the group of paintings, weavings, and sculptures in “Projective Instrument.” Auerbach’s artworks are not
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